kimberly gremillion

Kimberly Gremillion was born in Chicago and resides in Houston. In the Explorations issue, Aperture magazine named her “one of nine photographers to watch.” Her work has been featured in many significant publications over the years including the American Federation of Arts book, Images From the World Between and the cover of Black & White magazine. Gremillion’s twenty-six city Circus book tour included the International Center of Photography and Howard Greenberg Gallery in New York, Stephen Cohen Gallery in Los Angeles, Gerald Peters Gallery in Santa Fe/Dallas, The Ralls Collection in Washington D.C., and other museums and galleries throughout the country.

Gremillion has photographed many prestigious dance troupes including Mark Morris, Alvin Ailey, Elizabeth Streb and Pilobolus. Most recently Gremillion had an exhibition of fifty of these photographs in the Transamerica Building lobbies in San Francisco.

Paper City magazine in Houston and Dallas is featuring fifty of Gremillion’s photographs in PC Acquire, Whom to Collect starting July 2011 and continuing through the year. September 2011, The United Nations, UNESCO building will be the next venue for her work. The exhibition is entitled, Go West I, the first bilateral art exhibit between France and Texas. At the same, time her photographs will be shown in Dorothy’s Gallery, Paris. Her next book, Dance, will be released in the upcoming year.

Gremillion is represented in eighteen museum collections including the Art Institute of Chicago; Bibliotheque Nationale, Paris; Philadelphia Museum of Art; Museum of Fine Arts, Houston and the High Museum of Art, Atlanta.

"Kimberly Gremillion reveals a heretofore unseen circus. The strange world she creates is one where positive and negative space seem reversed, where a horse is its mane, a woman her muscles, a tiger its stripes."

The Editors

Aperture magazine

“Kimberly expresses the inexpressible in a split second. The feeling never leaves, the feeling that we know all, and yet nothing. These images are to be felt more than seen. We are shown a part of our soul, the place that haunts and terrorizes us. Through these images we are challenged to deal with our darker side.”

Graham Nash

Musician/Photographer

Nash Editions, Los Angeles

"Kimberly Gremillion appreciates the spectral and the spectacle. Light and shadow, etched on paper, dance in a special dimension."

W. M. Hunt

Dancing Bear Collection, New York

“The Circus book is a treasure, the shadows, the illusions of human movement, asides to scale and vulnerability that action and space throw onto the human form … all are poignant and moving.”

Elizabeth Streb

Choreographer/Dancer, New York

“Gremillion forces us to confront the reality that the world cannot be contained or explained by surfaces; she leads us unerringly across thresholds into another and richer world. Her subtle images, beautifully crafted and vibrant with imagination, do indeed generate tension, disquiet, and undoubted pleasure. Her explorations of the “optical unconscious” bespeak a reality that never fails to intoxicate.”

Richard Newby

Black & White magazine, Los Angeles

“Kimberly Gremillion’s circus work unambiguously belongs to the world of fine art rather than of reportage. Gremillion addresses her subjects with all the verve of fashion photography that is nonetheless tempered by darkness. She turns the performers into shadowy subjective forms, flickering abstractions of self, very different from what we would see in glittering color when watching an actual circus. Gremillion’s work is a series of stylized abstractions of the circus, very different from Weston’s in their dynamism and in the quality of tension and menace in each.”

Dr. Ellen Handy

An excerpt from the book, Images from the World Between, in conjunction with an exhibition traveling to museums throughout the United States, by the American Federation of Arts, New York.

“Gremillion’s eye is a dinner party of Clarence John Laughlin, Fellini, Tadeusz Kantor, Max Beckmann, Man Ray, Peter Brook, and Hitchcock, after the absinthe was passed around. Ecstatic and haunting and morbid and gorgeously hallucinatory and fugue-like and vertiginous and uncanny and canny and sacred and profane and fecund and terrifying and razor-edged and drunk.”